Tag Archives: Trojan War

Whether on Ida’s shady brow,
Or in the chambers of the East,
The chambers of the sun, that now
From ancient melody have ceas’d;

Whether in Heav’n ye wander fair,
Or the green corners of the earth,
Or the blue regions of the air,
Where the melodious winds have birth;

Whether on crystal rocks ye rove,
Beneath the bosom of the sea
Wand’ring in many a coral grove,
Fair Nine, forsaking Poetry!

How have you left the ancient love
That bards of old enjoy’d in you!
The languid strings do scarcely move!
The sound is forc’d, the notes are few!

In this poem, Blake contemplates the state of the poetic arts in England during his time. He expresses the belief that the art was lacking, that the poetic genius manifest in the past was lost during his time.

In the opening line, he mentions “Ida’s shady brow.” This is an allusion to Homer. Mount Ida was near Troy and supposedly from there the gods watched the Trojan War. Blake appears to be setting up a contrast between the inspiration that fostered Homer’s work and the perceived lack of poetic inspiration that plagued England in the late 18th century.

Blake evokes the four elements: earth, air, water, and fire (fire being symbolized by the sun). He mentions the elements before he mentions the nine muses. It gives the poem the feel of a mystical rite or incantation, where Blake is drawing energy from the elements in order to summon the muses.

I cannot help but wonder if Blake is also criticizing himself here. Since this poem was composed early in his life, he may have been struggling to find his own personal muse and feeling frustrated that he was not getting the inspiration of a Homer or a Shakespeare. If this was indeed the case, then I would say his incantation worked. The muses certainly inspired him throughout his life.

In this episode, Odysseus, still disguised as a beggar, fights with another beggar named Irus. The rowdy suitors cheer on the fight as entertainment, and Odysseus easily beats Irus. Then Penelope comes down to address the suitors and tricks them into bringing her gifts as a way of winning her. Penelope, like Odysseus, employs trickery and manipulation.

There are two things in this episode I want to point out. The first is the ideal of feminine beauty and the second is the symbol of fire.

Before going down to address the suitors, Penelope goes to sleep. While she is asleep, Athena heightens her feminine beauty. What struck me about this passage is how similar Penelope’s beauty is to Greek statuary. I have always thought of Greek sculpture as the ideal of physical beauty, so essentially, Athena is altering Penelope’s appearance so that she resembles a statue, or the ideal of what female beauty.

And while she slept the goddess
endowed her with immortal grace to hold
the eyes of the Akhaians. With ambrosia
she bathed her cheeks and throat and smoothed her brow—
ambrosia, used by flower-crowned Kythereia
when she would join the rose-lipped Graces dancing.
Grandeur she gave her, too, in height and form,
and made her whiter than carved ivory.

(Fitzgerald Translation: p. 342)

When Penelope appears before the suitors, she is praised for her beauty.

Penelope,
deep-minded queen, daughter of Ikarios,
if all the Akhaians in the land of Argos
only saw you now! What hundreds more
would join your suitors here to feast tomorrow!
Beauty like yours no woman had before,
or majesty, or mastery.

(ibid: p. 344)

What’s interesting about this passage is the claim that Penelope is more beautiful than any woman before. This would mean she is more beautiful than Helen, whose abduction started the Trojan War and led Odysseus from his home. So now, on a smaller scale, we have another battle ready to begin over a beautiful woman. It is almost as if the suitors symbolize the Trojans and Odysseus the Achaeans who went to fight in Troy.

So as I mentioned earlier, the symbol of fire was also significant to me as I read this episode. The first passage I want to discuss is when Odysseus takes his place beside the fire to tend to it while the suitors continue their revelry.

I stand here
ready to tend to these flares and offer light
to everyone. They cannot tire me out,
even if they wish to drink till Dawn.
I am a patient man.

(ibid: p. 346)

The first thing I thought of as I read this is that the fire represents illumination and that Odysseus is being likened to Prometheus. His adventures and tales serve as inspiration, lighting the way for generations of future poets and writers. But then as I thought about it some more, I found a second possible interpretation. The fire could also be a symbol of Odysseus’ wrath. If this is the case, then by standing and tending the flames, he is essentially feeding the rage that burns within him, and being “a patient man,” he will bide his time until he is ready to unleash his fury upon those who usurp his home.

There is another passage that supports the idea of fire as illumination. This is a quote by Eurymakhos as he observes Odysseus near the fire.

This man
comes with a certain aura of divinity
into Odysseus’ hall. He shines.

He shines
around the noggin, like a flashing light,
having no hair at all to dim his luster.

(ibid: p. 347)

As I read this, I had an image of Odysseus with an aura, almost like a halo. He shines with divine light, with an inner fire that makes him like a god.

I really enjoyed this book a lot. I found the symbolism to be intriguing and the flow of the tale to be brilliant. Check back soon for my thoughts on Book XIX.

In this book, Alkinoos holds a feast and a competition in honor of his still unknown guest, Odysseus. During the feast, Demodokos, a blind bard, sings songs which include tales of what happened to Odysseus, which stir deep and painful emotions within Odysseus as he listens.

So as I mentioned in my last three posts, each of the previous three books dealt with the theme of resurrection and rebirth associated with an element. In Book V, Odysseus is reborn through the element of earth; in Book VI he is reborn through water; and in Book VII he is reborn through fire. Now, to complete the cycles of rebirth, in this episode Odysseus experiences resurrection through the element of air.

The element of air is symbolized through the breath of the bard, Demodokos. As the bard sings the tales of Odysseus, his breath gives life to Odysseus’ past, essentially providing immortality through the art of poetry.

The following passage is worth a closer reading because it contains the key to understanding the importance of the bard’s voice in regard to the rebirth through air.

At the serene king’s word, a squire ran
to bring the polished harp out of the palace,
and place was given to nine referees—
peers of the realm, masters of ceremony—
who cleared a space and smoothed a dancing floor.
The squire brought down, and gave Demodokos,
the clear-toned harp; and centering on the minstrel
magical young dancers formed a circle
with a light beat, and stamp of feet. Beholding,
Odysseus marveled at the flashing ring.

(Fitzgerald Translation: p. 132)

The first thing to notice is that this takes place in a circle, which is a symbol of rebirth and continuity. The bard is placed in the center, signifying the central importance of the singer in the divine cycle. The dancers, representing action and emanation, circle around the source of the divine breath. It is also important to note that we again see the appearance of the number nine, the importance of which was established in Book III where the number nine symbolizes the connection between the earthly and the divine.

I want to point out that Demodokos sings three times. There is symbolic significance to this, since the number three represents, among other things, the three stages of life: birth, growth, death. After that, the cycle repeats itself with rebirth.

When we get to the third song, it is Odysseus who requests the theme, which is about how he took the lead in the attack from within the wooden horse at Troy.

The minstrel stirred, murmuring to the god, and soon
clear words and notes came one by one, a vision
of the Akhaians in their graceful ships
drawing away from shore: the torches flung
and shelters flaring: Argive soldiers crouched
in the close dark around Odysseus: and
the horse, tall on the assembly ground of Troy.

(ibid: p. 140)

Here the breath of the poet resurrects Odysseus as the words inspire visions. Words have the power to create, and many creation myths use breath or words as a symbol for the source of divine creation. For me, it makes sense that this element should be employed as the fourth level of rebirth for Odysseus.

Thanks for taking the time to read my thoughts, and have a blessed day!

This book takes place in Pylos. Telemachus and Athena (disguised as Mentor) arrive and witness a religious ceremony in which 81 bulls are sacrificed to Poseidon. Afterwards, they meet with Nestor who relates what he knows about what happened to Odysseus after the Trojan War.

The number 9 appears several times in this book. First, at the ceremony, there are nine congregations and each one is offering nine bulls, for a total of 81 bulls. It is also worth noting that 81 in some forms of mystical numerology is broken down to 8+1 which again equals 9.

On the shore
black bulls were being offered by the people
to the blue-maned god who makes the islands tremble:
nine congregations, each five hundred strong,
led out nine bulls apiece to sacrifice,
taking the tripes to eat, while on the altars
thighbones of fat lay burning for the god.

(Fitzgerald Translation: p. 35)

The number nine also appears when Nestor is relating events to Telemachus and Athena.

Think: we were there nine years, and we tried everything,
all stratagems against them,
up to the bitter end that Zeus begrudged us.

(ibid: p. 38)

The number 9 is a truly mystical number, and I suspect its prominence in this book has symbolic meaning.

Of all the single digit numbers, nine (9) may be the most profound. Composed of three trinities (3 times 3 equals 9), nine represents the principles of the sacred Triad taken to their utmost expression. The Chaldeans believed 9 to be sacred, and kept it apart in their numerology from the other numbers. Nine has been and in some cases still is considered thrice sacred and represents perfection, balance, order — in effect, the supreme superlative.

In kabbalistic numerology, the number 9 corresponds with the sefirah Yesod and represents the power of connection, particularly between the earthly and the divine.

Yesod (Hebrew: יסוד “foundation”) is a sephirah in the kabbalistic Tree of Life. Yesod is the sephirah below Hod and Netzach, and above Malkuth (the kingdom). It is the vehicle, from one thing or condition to another. It is the power of connection.

The sephirah of Yesod translates spiritual concepts into actions that unite us with God.

It is often associated with the Moon, because it is the sphere which reflects the light of all the other sephirot into Malkuth, and it is associated with the sexual organs, because it is here that the higher spheres connect to the earth.

It plays the role of collecting and balancing the different and opposing energies of Hod and Netzach, and also from Tiferet above it, storing and distributing it throughout the world. It is likened to the ‘engine-room’ of creation.

So my interpretation of this section of the Odyssey is that it is establishing a connection between the human and the divine, the conscious and the subconscious, the known and the ineffable. It is also worth noting that this all occurs in the third book, with 3 being the square root of 9.

There are other interesting aspects and passages in this book, but I think this is enough to mull over for now. Of course, please feel free to share any thoughts or things you would like to discuss in the comments section below. Thanks for stopping by.